{"id":4615,"date":"2021-12-07T00:56:25","date_gmt":"2021-12-07T00:56:25","guid":{"rendered":"http:\/\/procedural-audio.com\/blog\/?p=4615"},"modified":"2021-12-07T02:19:44","modified_gmt":"2021-12-07T02:19:44","slug":"heroic-fantasy-sound-design-2","status":"publish","type":"post","link":"http:\/\/procedural-audio.com\/blog\/2021\/12\/07\/heroic-fantasy-sound-design-2\/","title":{"rendered":"Heroic-Fantasy Sound Design 2"},"content":{"rendered":"
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\"GameSynth\"<\/a><\/p>\n

After using DSP Fantasy<\/a> to design a dungeon ambience and cast magic spells in the first part of this post, it\u2019s time to get our battle axe and fight some skeletons, while a dragon is ominously waiting for us. But let\u2019s check the full animation first.<\/p>\n

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Warrior on a bridge<\/h2>\n

The third sequence of our animation shows a ferocious warrior making his way on a bridge while fighting a horde a skeletons. To create their voices, we layered both the Skeleton<\/strong> and Goblin<\/strong> patches from the Creatures<\/em> category. The Skeleton<\/strong> layer provides the breathy part while the Goblin<\/strong> layers adds a growly component. Several variations for each of them were randomly generated and we simply selected the best pair for the two closest skeletons.<\/p>\n

The Footsteps <\/strong>patch of the Dungeon<\/em> category, with the Surface<\/em> set to Gravel<\/em> does a good job at simulating bone footsteps. The impact sounds – triggered when the skeletons are hit by the warrior\u2019s axe and fall on the ground \u2013 are generated by layering the Equip-Unequip <\/strong>patch of the Inventory<\/em> category and the Scroll<\/strong> patch of the Magic<\/em> category. We only keep the Wood<\/em> component of the Impact<\/em> section of the Equip-Unequip <\/strong>patch and randomize everything in the Jingling<\/em> section. Although it may sound a bit metallic by itself, it creates a nice bones texture once combined with the Scroll<\/strong> sound (in which we totally mute the Whoosh<\/em> section).<\/p>\n

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The warrior\u2019s movements are created with the Cloth-Foley<\/strong> patch. Unlike for the wizard in the previous post, who was simply wearing a robe, we keep the Plate<\/em> and Mail<\/em> components from the Gear<\/em> section. Since he is carrying a heavy axe, \u00a0we want to add some grunts to emphasize his efforts. This is done by using the Demon<\/strong> patch as it sounds the most\u00a0 human-like (while still ferocious) from the patches of Creatures<\/em> category.<\/p>\n

As for the axe, we choose to mix the Whoosh<\/em> component of the Mace<\/strong> patch with the Impact<\/em> component of the Axe<\/strong> patch, both in the Weapons<\/em> category. We generate two variations with a different Tone<\/em> for both patches, and we also layer the impacts with the Hit<\/strong> patch in the Dungeon<\/em> category, \u00a0without its Flesh<\/em> section.<\/p>\n

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Like for the alchemist\u2019s laboratory, we add a simple environmental ambience by using the Wind<\/strong> patch again, but this time with higher Air<\/em> Power<\/em> and Whistling<\/em> settings, to convey a feeling of altitude.<\/p>\n

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Here comes the dragon<\/h2>\n

The final sequence sees the landing of a fierce dragon. The Dragon<\/strong> patch already includes Wings<\/em> and Growl <\/em>sections. We can adjust their respective Timing<\/em> as well as the Duration<\/em> and the Wings Speed<\/em> of the Wings<\/em> section to synchronize the sound with the animation. In the Growl<\/em> section, we increase the values of most parameters, but lower the Throat Tone<\/em> to create the sound of a larger beast.<\/p>\n

Two other layers are added with the Wildcat<\/strong> and Zombie<\/strong> patches. The role of the Wildcat<\/strong> patch is to add more high frequencies to the sound. We lower the Breath<\/em> \u2013 since the dragon already sounds breathy \u2013 and the Growl Tone<\/em> and increase the Maw Size<\/em> to make it sound like a bigger creature.<\/p>\n

The Zombie<\/strong> patch is used to add some modulation at the start and at the end of the sound. Like for the Wildcat<\/strong>, we lower the Growl Tone. <\/em>We totally mute the Flesh<\/em> sound but increase the Modulation<\/em> to its maximum value. Then, in our DAW we only keep the start and the end of the generated sound and synchronize them with the opening and the closing of the dragon\u2019s maw.<\/p>\n

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Several layers are also created for the landing of the beast itself. First, we use the Mace<\/strong> patch to give a proper amount of low-end to the sound. We set its Whoosh<\/em> section at its maximum duration to add some sense of motion during the dragon\u2019s arrival. Then, in the Hit<\/em> section, we lower all the Tone<\/em> parameters and boost the Low Impact<\/em> to have even more sub. For the initial impact, we also use the Hit<\/strong> patch, keeping only the Impact<\/em> section. As a final touch, we create the impact\u2019s tail using the Cannon<\/strong> patch from the Weapon<\/em> category. More specifically, we mute the Loading<\/em>, increase the Reverb Tail,<\/em> and lower the Tone<\/em>. This dragon now feels a lot heavier when it lands!<\/p>\n

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As the dragon is landing nearby the sea, we conjure a few environmental patches for the ambience. First, the Thunderstorm<\/strong> patch of the Environment<\/em> category is used to create a low rumble sound (we mute the Lightning<\/em> and add a bit of Distance<\/em>). Then, we use the Seashore<\/strong> patch to add some water movements to the scene. It doesn\u2019t have to be too powerful, so we lower the Waves Cycle<\/em> and Amplitude<\/em> parameters, as well as the Close Waves<\/em> since we want to keep it in the background.<\/p>\n

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You can hear the final sound design for the whole animation in the video below.<\/p>\n

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All the sounds have been created with DSP Fantasy. You can use DSP Fantasy and its many sound effects generators (for creatures, dungeons, spells, weapons etc\u2026) in your own creative projects, free or commercial. Let us know what you did with it!<\/p>\n


\n\"dsp<\/a><\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

After using DSP Fantasy to design a dungeon ambience and cast magic spells in the first part of this post, it\u2019s time to get<\/p>\n","protected":false},"author":1,"featured_media":4617,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[15,19,12],"tags":[],"_links":{"self":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4615"}],"collection":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/comments?post=4615"}],"version-history":[{"count":7,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4615\/revisions"}],"predecessor-version":[{"id":4701,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/4615\/revisions\/4701"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media\/4617"}],"wp:attachment":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media?parent=4615"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/categories?post=4615"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/tags?post=4615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}